Three years. Thirty columns. Four cycles of YDN editors. Hours on hours of writing and movie watching. Now I’m graduating with two senior projects, post-grad prospects on a film set in New London, and a lifetime’s worth of memories. So what do I possibly write about last? I could do another film review. I could »

Beautifully choreographed and economically shot, here is a film that offers us all a glimpse into a very genuine place in our hearts — that dark recess that nags at you, telling you that whatever it is you’re doing isn’t really making you happy.

Wes Anderson movies are easy to spot. The dialogue is always snappy, the characters always quirky, the shots always somewhere between high art and wallpaper pizzazz. In other words, his style is striking, and what he chooses to shoot and how he chooses to move his camera — his content, if you will — is mesmerizing, alluring and picturesque all at the same time.

Valentine’s Day is the loneliest day of the year for no real reason. Most of us are going to spend it without a significant other, and that’s fine, but we still won’t be able to make it ten steps outside before spotting at least half a-dozen couples holding hands—couples we conveniently never see except on February 14th.

When people started hearing about “Her,” the immediate responses seemed to oscillate between confusion and intrigue. Joaquin Phoenix plays the part of Theodore Twombly — a disillusioned love-letter writer who manages to fall in love with his computer’s operating system: the artificially intelligent Samantha (voiced by Scarlett Johansson). Their relationship evolves quickly over time, helping »

David O. Russell is the hottest filmmaker working today. Following the disastrous “I Heart Huckabees” in 2004, he took a few years off before returning to strike gold with his last two films: “The Fighter” and “Silver Linings Playbook,” which collectively won three Oscars from fifteen nominations. And now with “American Hustle” making the critical rounds, it suffices to say that the 55-year-old is finally starting to hit his stride.

It’s hard to overlook Matthew McConaughey’s devilishly good looks, and it would be remiss to say that his chiseled features and Adonis-like golden locks haven’t had some sort of impact on his early career roles. But with his turn as a homophobic AIDS victim in “Dallas Buyers Club” making the critical rounds, we have to »

With The Game just around the corner, Yale football faces an all too-familiar problem: we’ve won just once in the last twelve years, and that was in 2006—when I was a freshman in high school. But if popular Hollywood has taught us anything, it’s that, on any given day, anyone anywhere is capable of pulling out a win.

By the time you read this, Halloween will have passed, and hopefully you enjoyed a nice fright or two. After all, the popular point of Halloween is to scare the hell out of yourself. And what better way to scare the hell out of yourself than to watch a scary movie? Some of the greatest »

Television was always my first love. Don’t get me wrong, I love great movies — it’s why I write this column. But most young kids don’t tend to see a lot of them, typically watching the same small handful of films over and over and over again. Case in point: I’ve seen “The Lion King” »

All the best movies from the last few months hit the same kind of emotions. “Mud,” “The Great Gatsby,” “Star Trek Into Darkness,” “This Is the End,” “Man of Steel,” “The Heat,” “The Way Way Back,” “The Spectacular Now” — these have been truly sentimental films that have in many ways forced us to look a little inward. Especially now, at the start of what is, for many of us, the last eight months of our Yale career.

I can count on one hand the number of new releases I saw this summer: “Star Trek Into Darkness,” “This Is the End” and “The Heat.” All wonderful films, all very different. “Star Trek” is an adventure and a half, and “The End” is astonishingly offensive and hilarious.